“When it comes to reaching fans — especially teenagers — nothing is more important than the opinions of middle-aged white men at our nation’s great newspapers,” reads a press release behind A Perfect Circle’s latest release, “Eat the Elephant.” While it’s hard not to take it a little personally, it’s even harder not to see the point as valid.

The album, which dropped in April, represents the fourth studio record from the ethereal metal band since their debut in 2000. APC (as they are called) will perform at UCF’s CFE Arena on Oct. 30 (7:30 p.m., 12777 Gemini Blvd., Orlando, $47 and up, cfearena.com).

Created by former guitar technician Billy Howerdel, the band has been a magnet for talent over the years, with a constant presence from Howerdel and Tool vocalist Maynard James Keenan. The current iteration also features Smashing Pumpkins guitarist James Iha and former Eagles of Death Metal touring bassist Matt McJunkins.

“Eat the Elephant” is slightly less heavy than their previous outings, the last of which was 2004’s “Emotive.” The lyrics are mostly focused on dissatisfaction with the current social and political landscape, with songs such as “The Contrarian” decrying those who argue with everything and a barely veiled description of President Trump himself.

Howerdel and Keenan operate as the songwriting arm of the band, with Howerdel handling the music and Keenan on lyrics. On the phone, Howerdel discussed their working relationship, the creation of the sound for this album and how he reaches his audience. Questions and answers have been edited for clarity.

Question: This was your first album in 14 years. How did your approach to it differ from previous efforts?

Answer: I go back and forth on that one. We kind of let the music dictate where it’s going to go. Once you get a collection of three or four songs, it starts to let you know where the whole body’s going to go. And then, in waves, you catch maybe you’re missing one piece. Maybe there’s another sketch that’s going to fill this void.

One mechanical thing I did was put down the guitar and try to write with keyboard more. That started to steer us in a certain way. I think the intention was just to create music that is where we are today, not trying to revisit or recreate something from the past. Not that we couldn’t touch on those elements, but not relying on past victories.

Q:With the political focus of the songs, they felt less personal and inward than on previous albums. Was that something you were going for?

A: It’s not something I get involved in. I hand [Keenan] my musical ideas and then he starts to shape what he hears. He starts to communicate with words. I have the blank page and all the ability to present the ideas that I want. He’s listening, reacting and going from there. Then I try to work within his framework.

The final say will come down to Maynard’s singing. What is he trying to get across and how can I help support that musically?

Q: Coming at this from the perspective of someone who started on the technical end of production, do you ever feel separated from the creative end of things?

A: This time I was more on the creative end because it’s the first time I didn’t produce this album. I produced all the other APC records. I wanted to be freed up from all of the duties – the technical duties, the janitorial duties, the accounting duties, labor duties – of being a producer and engineer. It’s just get down to putting a guitar on, sitting at the piano, creating the music and having someone else hit record and deal with the takes.

We had Dave Sardi managing the helm and Maynard giving into it as I was playing. Whereas before, I would finalize things, this time it was a much more collaborative process.

Q: You have built your band out of a lot of stars. Do you ever approach that as a fan getting to work with the talent that you do?

A: I have those moments. But it’s like anything else. You meet your idol, the first 30 seconds are exhilarating, the next five minutes are enlightening, then the next month is, “I wonder what you’re getting for breakfast.” You normalize this and you get rid of that shock and you get to work.

But sometimes I still get those moments. I’m at festivals and hanging out with Rob Halford from Judas Priest. I can’t help but going back to 12 years old and thinking about putting Judas Priest on my record player for the first time. Can you imagine going back and telling yourself that this would happen? It would screw you up. I would never be where I am today. It’s like being a parent and understanding this from a child’s perspective. Having a little bit of a hard time and having your goals just slightly out of reach makes you fine and strive for greatness. Having everything handed to you can put you in this impotent kind of position.

Q: What do you want to say to middle-aged people with your music?

A: This music was written where we are today. I’m 48. Maynard’s 54. I wasn’t approaching it from the idea of being that age. But I am writing it from the approach of my life experience of coming to this moment and informing the music. It’s not chasing youth; it’s not chasing the idea of being older. It’s just naturally and hopefully organically informing where the notes lie with all these experiences we’ve had.

One thing I try not to do is be self-serving in my music. I know I’m writing something for other people to listen to, enjoy, consume. I try to find a balance between what’s personally pleasing and what someone else wants to hear. That doesn’t mean I steer it into what’s going to be a commercial success. It just means there’s somethings that I could present that I just think are really cool, but I’m not going to release. They’re just for my musical diary and they are going to start and stop there.